And/Or Gallery is pleased to announce Brenna Murphy's debut solo show in Los Angeles. Murphy is a multidisciplinary artist who works with a suite of animation and graphics software to produce intricate sculptural domains that blur the borders between virtual and physical, liquid and solid, silicon and carbon, technical and folk. Whether realized in space, rendered on screen, or as some hybrid of the two, Murphy's sculpted realms are as mediated and synthetic as they are meditative and organic. Combining earthly textures and mystical glyphs with the labyrinthine elements of circuitry and crystallography, her distinct aesthetic fabricates objects that feel as if they were artifacts from a future civilization or fossils from an unknown planet. As Murphy says of her process, “I add and carve until the arrangement is balanced in a way that creates a perfectly cohesive, vibrating ecosystem.”

Building on this hyper-dimensional approach, Show #27 will feature a range of new pieces across media, including tapestries, 3D-printed sculptures, video works, and a special virtual reality installation, which promises to be the fullest expression of Murphy's desire to create a fluid portal between physical and virtual realms. After entering the installation within the gallery, the viewer will use a VR headset to navigate a virtual sculptural world of abstracted natural elements that complements the physical domain and functions as a vast overlay of it. The Fotomuseum Winterthur and the Julius Bär Foundation recently awarded this work the 2016 P3 Post-Photography Prototyping Prize.

Brenna Murphy (b. 1986, Edmonds, WA) is an American artist based in Portland, Oregon. She has exhibited work at the New Museum First Look and James Cohan, and has had solo shows with Kunstverein Dusseldorf, Yerba Buena Center for the Arts, and Future Gallery. She is represented by American Medium and Upfor. Her work has been published in the books SKYFACE SENSRMAP, Central Lattice Sequence, and the monograph Domain~Lattice, and she is the recipient of grants from RACC, Rhizome, and the Oregon Arts Commission. With artist Birch Cooper, she performs as MSHR, which constructs sculptural synthesizers, ritualistic performances, and installations that place the body into a dynamic relationship with sound and light. She holds a BFA from the Pacific Northwest College of Art.

For questions and all press inquiries, please contact Paul Slocum, Owner and Director, at info@andorgallery.com or (214) 676-5347.

There was a painting of a mountain that hung in the hallway of my childhood. Every evening it would berate me as I lay in my bed, like a cockroach, unable to rise. It called me a silly girl, a cupcake, a deformed puppy, a toenail, and a rock. It told me I was sick and lazy and that I masturbated the wrong way and too much. The painting depicted Humboldt’s mountain and it organized the strata of the world, the plants by their habitual altitude, and the ways that other mountains did or did not measure up.

In the mythologies of the world, flawed superhumans or failed gods are torn apart in fits of rage or jealousy and the fragments of their bodies fall and fossilize, becoming landscape. In plate tectonics, mountains mark the areas where one surface pushes against another fragment of its lost self, a Platonic pansexual Pangeaic dream of earthquakes and never enough. Their grinding is fraught with a mineral desire to change one’s shape, to lose one’s temporary boundaries.

“The mountain” is the sediment—scar tissue built up in a slow accumulation of flesh wounds—pulling, pushing, and burying what was lost in the call and response. Its remnants of historical violence are arbitrary, relegated to the land of folk. This mythology is barely seen because, like skin, it surrounds us.

“The mountain” is a consideration of matter in four different stages: putrefaction, petrification, surface, and memory. Each stage is presented as a tableau of objects upon a reverse glass painting of various textures, mythological scenes collaged with historical and contemporary images. Many of the objects utilize living or natural processes, such as the mineralization of chemicals onto a taxidermied reptile (petrification) or the growth of edible mold on a tondo of resin-preserved mushrooms (putrefaction).

“The mountain” contains an ecosystem of entangled lives. There are silkworms weaving their cocoons which can be used to cleanse and whiten human faces (surface); their spit becomes a shroud to the familiar word “Father” written in George Psalmanazar’s made-up language—an 18th century foreigner who created an idea of the Orient. The surface is ever-changing.

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Memory 1: On one of the four tables, there are mushrooms used for cultivating memory-production. These are hydrated and kept alive by a fine mist of liquid distilled from our communal piss.

Memory 2: I came home late last night to find two bottles of urine in a brown paper bag slung over my dilapidated fence. It was bottled so beautifully I could not resist a sniff and then a taste. Don’t worry; I kept it for the communal pool, though I was tempted to drink it all. I would guess that the bottle containing less was a vegetable-eater; its flavor of salt was so punctuated by an herbaceousness that it opened my eyes wide. The other one was softer, more mellow and fragrant like metallic earth with a tinge of ocean.

Memory 3: Before you died, you lived for years with a hole cut into your throat and would pour your whisky into your beer to soften the burn. You said you liked mixing things into beer and once you pissed in a cup of beer and gave it to a collector who was annoying you. He didn’t notice the salty taste. But I did.

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1. I am reminded of a story of a woman who came in really drunk to the tattoo parlor and revealed a tattoo of a giant penis marked as a measuring stick emblazoned on the length of her torso from the crotch up, with Old English Script written above it: “Measure Up.” She asked, “Can you turn this into the Scales of Justice? I’m a firm believer in the Truth.”

2. George Psalmanazar was a European who lived in London in the early 1700s within an invented persona as a “Formosan.” He wrote an ethnographic text about his life, culture, language, and religion, and survived for many years on the proceeds and hospitality of hosts who found him exotic and charming.

Arteriovenous Malformation (AVM) refers to an abnormal network of blood vessels in which arteries connect directly to veins instead of going through a bed of capillaries. In 2010, Yong Soon Min experienced a massive headache—triggered by the stress of a Korean language proficiency exam—that turned out to be a cerebral hemorrhage. The malformed blood vessels in the left hemisphere of her brain had ruptured, engulfing it in blood. Though AVM surgery removed the tiny abnormality, Min underwent a year-long process of therapy to rehabilitate her affected speech and memory. Even to this day, she confuses pronouns like ‘she’ and ‘he’ and often speaks one word when she means another, disrupting the relationship between the signifier and the signified.

Installed above a printed flooring of Min’s personal library of books and mementos, a decagon-shaped table extends around a partition wall which divides the exhibition space into halves, like the two hemispheres of the brain. The ten sections are cut through with five corresponding pairs of words: pizza/pyramid; diaspora/diarrhea; womb/tomb; happiness/penis; and thank/spank. Across the surface, glass spheres flow along the grooves suggesting synaptic connection between each pair. The benches for the visitors to sit on are carved with phrases based on Min’s memory retrieval of five slogans, including one which she inherited from her parents: 남남북녀 (nam nam buk nyuh), a severe shorthand expression that means: ‘handsome South Korean men are best with beautiful North Korean women.’ In the two corners of the space, wall vinyl of a Vulcan greeting and air quotes connect like a Mobius strip suggesting that cognition is based on a foundation of constructs within which language can elaborate our thoughts, yet becomes susceptible to the slip of the tongue.

“Last Notes and Sketches, Min Tae Yong (1918-2001)” is an homage to Min’s father composed of folded panels in the style of Korean byung poong. The pages are displayed as swiveling windows to reveal marks on both sides. On disposable notepads, her father’s handwritings and diagrams combine complex and sophisticated ideas about physics, revealing an obsessive mind for order and latent cognitive strife. Written in Korean, the panels contain thirteen concepts of the multiverse that defy easy translation. In his “Cognitive Transitive Simulation To Achieve Communication” prose, Min Tae Yong writes about being in a ‘cosmic membrane’ composed of ‘cosmoans, galaxians, starmen,’ and all the anthropic entities whose spirits permeate the cosmos. He ends this page with a series of questions: “Is the spirit strong enough? Is the technology advanced enough? To be able to be on line with them?” This final draft bears the deliberate marks of his revision as he crossed out ‘the’ to replace it with ‘your.’

As we inject our future into the materiality of things, where is our bodily focus? Who are we within our constructed reality? In Jane Bennett’s Vibrant Matters, we are introduced to our not so stranger, discarded selves—stacked within the homes of hoarders, swirled into plastic islands in oceans and clogged inside storm drains. What Bennett encourages is a conversation with the thingness that surrounds us. Similar to Karen Barad’s idea of intra-action, which can be described as “the mangling of people and things and other stuff’s ability to act” from within the relationship rather than from outside of it. Our porous bodies are enmeshed with the thingness of our industrialized, formalized, and consumerized, product-driven, global warming selves. It is amidst this seemingly apocalyptic time that we begin to understand what this entanglement entails for the future of life as we know it.

Kelly Akashi, as artist as alchemist, explores materials that melt, harden, shape and reshape invoking unseen essences of what an object is, was, and is to become. Anne Cousineau works with organic materials that decay and transform, queering notions of permanence, stability, and time. Danielle Dean’s video, BioWhite, materializes social constructs of racism by paralleling Louis Kahn’s excessive treatment of concrete with the burgeoning of skin lightening enterprises.

Kelly Akashi lives and works in Los Angeles, and has studied at the University of Southern California, Los Angeles (MFA); Städelschule, Frankfurt am Main; and Otis College of Art and Design, Los Angeles (BFA). Her work has recently been shown at the Hammer Museum (Made in L.A. 2016: a, the, though, only); David Roberts Art Foundation, London; Astrup Fearnley Museum of Modern Art, Oslo; The Jewish Museum, New York; Shanaynay, Paris; White Flag Projects, Saint Louis; Tomorrow Gallery, New York (solo); Michael Jon & Alan, Miami (solo); Midway Contemporary Art, Minneapolis; and Château Shatto, Los Angeles. Akashi’s solo exhibition, Being as a Thing, is currently on view at Ghebaly Gallery in Los Angeles until December 23, 2016.

Anne Cousineau is an artist living and working in Los Angeles. Through material investigations, Anne entangles cultural notions of the synthetic and organic to consider questions of the body within nature. They received a BFA in Painting from The Rhode Island School of Design and are currently a MFA candidate at The Milton Avery Graduate School of the Arts, Bard College.

Danielle Dean’s work draws from her multi-national background of being English, American, and Nigerian. Her work explores the colonialism of mind and body—the interpellation of the subject by power structures working through digital media, news, and advertising. She focuses on target-marketing practices that reinscribe markers such as race, gender, age, etc. She is interested in subverting such processes toward a non-essentialized space of being. Solo exhibitions include: Focus, The Studio Museum in Harlem, New York; and Hexafluorosilicic, Commonwealth and Council, Los Angeles. Group exhibitions include: Shifters, Art in General, New York; It Can Howl, Atlanta Contemporary Art Center, Atlanta; What Shall We Do Next, Diverse Works, Houston; and Made in L.A. 2014, the Hammer Museum, Los Angeles. Her video work was recently screened at MOMA PS1, New York. Residencies include: The Whitney’s Independent Study Program, New York; and The Core Program, Houston. Dean is a Rema Hort Mann Foundation and Creative Capital awardee, and received her MFA from California Institute of the Arts and BFA from Central St Martins.

The Pit is pleased to announce Screen Jaw Door Arch Prism Corner Bed, a solo exhibition of new paintings by Los Angeles based artist Allison Miller. This is Miller’s first exhibition with The Pit and will inhabit both gallery spaces. The exhibition includes her largest work to date: a diptych filling the entire back wall of our second space, The Pit II. All of the works in the exhibition are the most recent developments in Miller’s on-going dialog with and within the parameters of painting, incorporating the ideas of improvisation and cancellation which have been an evolving part of her work over the ten plus years it has been exhibited. The exhibition will open on Sunday, November 13 from 4-7pm and will remain on view through December 31, 2016.

Screen Jaw Door Arch Prism Corner Bed is a list of the blunt titles of the works in this exhibition, everyday words that sit like lead cherries on top of the melting ooze of a sundae that is each painting. Systems, both graphic and gestural, are incrementally piled onto each canvas — along with all of the elaborations, mutations and reversals that these layers prompt. Redaction and erasure are integral to this process since each work is approached as a zone where time can be sped up, slowed down or rewound in order to contort the painting into a behavior that is unfamiliar and constantly shifting. Taped lines, drips and scrapes, transparent washes and opaque chunks of color trade roles in this push towards permanent mutability. Heightened by the constraint of the canvas itself, it is in this paradoxical state that Miller’s paintings hover — both proposals for and the ultimate, complete versions of, themselves.

Allison Miller (b. Evanston, IL) lives and works in Los Angeles. Her paintings have been the subject of solo exhibitions at Susan Inglett NYC, The Finley LA, ACME. LA. Group exhibitions include Made in LA 2012 at the Hammer Museum, and at the Bregenzer Kunstverein, Austria, the Orange County Museum of Art, The Pit, GAVLAK LA, The Pizzuti Collection, Ameringer/McEnery/Yohe, among others.

In 2015 MOCA and The Underground Museum launched a multiyear collaboration that realizes exhibitions developed by the late artist Noah Davis that use works from MOCA's esteemed collection of contemporary art. Davis, along with his wife and fellow artist Karon Davis, conceived of The Underground Museum as a space for exhibitions, events, dialogue, and artist collaborations. Located in the working class neighborhood of Arlington Heights, The Underground Museum is a cultural outpost complete with a garden and film screenings, dedicated to ensuring access to contemporary art and ideas for all of LA's residents.
Non-fiction, the collaboration’s second iteration, pulls together works of art that investigate, either explicitly or implicitly, the culture of violence perpetrated on black citizens. The exhibition features several pieces from MOCA's permanent collection, including works by Kara Walker, Henry Taylor, and Marion Palfi. Artists Theaster Gates, Robert Gober, David Hammons, Deana Lawson, and Kerry James Marshall have also lent work for the exhibition. Non-fiction promises to be an emotionally charged and complex exhibition, made possible by the integrity and experimental vision that fuels The Underground Museum.

The year-long exhibition will be accompanied by ongoing programs that will include a summer film series, artist talks, meditation sessions in The Underground Museum’s Purple Garden, and more.

Non-fiction is made possible with support from The Aileen Getty Foundation, Daniel Crown and Crown Family Philanthropies, and VIA Art Fund.

Pasadena, CA—The Armory Center for the Arts is pleased to present Radio Imagination: Artists in the Archive of Octavia E. Butler a group exhibition organized by the Los Angeles-based not-for-profit organization Clockshop. The exhibition debuts 6 new commissions inspired by the Octavia E. Butler papers at the Huntington Library. Radio Imagination: Artists in the Archive of Octavia E. Butler is part of Clockshop’s year-long program throughout 2016 celebrating the life and work of Pasadena science fiction writer Octavia E. Butler (1947-2006). The exhibition is on view in the Armory’s Caldwell Gallery from October 2, 2016 through January 8, 2017. A reception, free and open to the public, will take place on Saturday, October 1, 2016 from 6-8pm.

Octavia E. Butler was a bestselling and award-winning author, receiving both the Hugo and Nebula Awards for her groundbreaking science fiction, as well as a Lifetime Achievement Award from PEN West. She was the first Black woman to achieve international prominence in the genre, and is the first and only writer of science fiction to earn a MacArthur “genius” Fellowship. With Black female protagonists, radical notions of kinship, and a keen understanding of power dynamics, Butler’s writing revamped the conventions of the science fiction genre. Ultimately, her work suggested new ways of thinking and new models of working for generations of writers and artists to come. 2016 marks the 10-year anniversary of Butler’s death.

Radio Imagination: Artists in the Archive of Octavia E. Butler debuts new work by Laylah Ali, Courtesy the Artists (Alexandro Segade and Malik Gaines), Lauren Halsey, Mendi + Keith Obadike, Connie Samaras, and Cauleen Smith—contemporary artists working in performance, sound, installation, photography, drawing, and video. Forming an unprecedented collaboration with Clockshop, the Huntington Library in San Marino granted these artists access to work in Butler’s archive. The Octavia E. Butler Collection at the Huntington Library consists of 8,000 individually cataloged items and more than 80 boxes of additional ephemera. Materials range from Butler’s very first short stories, written at age 12, to manuscripts, photographs, and Butler’s collection of inspirational quotes. The commissioned artists comprise an intergenerational group of emerging and established artists, each with an affinity for Butler’s work and a long-standing interest in her oeuvre.

Prompted by Butler’s “commonplace books” —the notebooks in which she jotted down her daily thoughts and ideas—Laylah Ali has created 10 new figurative drawings. Mendi + Keith Obadike’s sound-based installation incorporates phrases from an unpublished science-fiction story Butler wrote as a teenager, and includes an audio component that will be launched into space. Installation artist Lauren Halsey will build an immersive sculptural work that alludes to the various landscapes of Butler’s novels, from ravaged fields to anarchic streets to living spaceships. Cauleen Smith has adapted one of Butler’s texts in which the central character’s return to the present from the past is unexpectedly violent. Connie Samaras’ new body of work uses large format photography and multiple exposures to overlay Butler’s journals and photographs with images of the Huntington Gardens. Finally, a choral and orchestral work by Courtesy the Artists (Malik Gaines and Alexandro Segade) will premiere on the evening of the exhibition opening. Featuring projected animations, 4 singers and 4 musicians, Star Choir incorporates phrases from an unfinished novel, Parable of the Trickster, which Butler famously struggled to complete. The exhibition will also include a selection of images depicting materials in the archive.

Radio Imagination: Artists in the Archive of Octavia E. Butler includes related programming. Courtesy the Artists’ performance will repeat three times on opening night at the neighboring Levitt Pavilion. In addition, a tour of Butler’s Pasadena led by Butler biographer and founder of the Octavia Butler Legacy Network Ayana A.H. Jamieson will meet at the Armory on December 4, 2016. On October 19 an in-gallery talk will feature Radio Imagination artist Connie Samaras in conversation with writer Lynell George and on December 11 artist Lauren Halsey will talk with writer Fred Moten. For the full schedule of exhibition related events please see www.armoryarts.org and www.clockshop.org/project/radio-imagination/.

Additional Radio Imagination events happening this fall include a musical performance by Nicole Mitchell and a panel discussion on radical reproduction at the Huntington; and a screening of short films at REDCAT curated by Erin Christovale. For more info on this program please see www.redcat.org/event/let-it-be-known-short-films-inspired-octavia-e-butler.

“The Armory is honored to present Radio Imagination and participate in the conversations inspired by Octavia Butler’s humanistic vision,” says Irene Tsatsos, the Armory’s Director of Exhibition Programs and Chief Curator. “Clockshop has generated an important and multi-layered program—one that inspires reflection on moments both past and future, and motivates thoughtful action in the present.”

Clockshop Director Julia Meltzer said, “Recognition of Butler’s influence across artistic disciplines, and her contribution to the Los Angeles cultural landscape is long overdue. Our hope is that Radio Imagination will bridge Butler’s groundbreaking fiction with contemporary conversations about the future of Los Angeles.”

Radio Imagination is made possible with support from The Andy Warhol Foundation for the Visual Arts, Mike Kelley Foundation for the Arts, Philip and Muriel Berman Foundation, the WHH Foundation, and Pasadena Art Alliance.

Carmen Argote Carmen Argote: Workbook/Notebook

Oct 2, 2016 - Jan 8, 2017

The Armory is pleased to present a two-part exhibition of installation and sculpture by the Los Angeles-based artist Carmen Argote.

Pasadena, CA – The Armory Center for the Arts presents Carmen Argote: Workbook/Notebook, a two-part exhibition of installation and sculpture that will be on view at the Armory's La Casita from October 2, 2016 through the fall of 2017 and at the Pasadena Art Alliance Gallery at Armory Center for the Arts from October 2, 2016 through January 8, 2017. A reception will take place on Sunday, October 2 from 2-4pm at La Casita, 805 N. Madison Ave., Pasadena. Carmen Argote: Workbook/ Notebook is organized by guest curator Sinéad Finnerty-Pyne.

Workbook is an installation situated throughout the exterior garden at La Casita, the Armory’s community learning annex, where Argote will arrange over fifty white plastic signs that feature a series of handwritten verse. The presentation is inspired by the writings on the whiteboard inside La Casita, used predominantly by ESL learners, and extracted written text from her grandmother’s English grammar workbooks.

Notebook, an exhibition in the Armory’s Pasadena Art Alliance Gallery, features Argote’s 3D model of La Casita along with a book of retraced writings from her grandmother’s spiral notebook used during her own ESL education. Unlike the standardized nature of the grammar workbooks, the project’s source notebook is more personalized, containing phone numbers of the artist’s grandmother’s friends, birthdays, and other intimate notes in Spanish. The work offers a layering of two distinct experiences and questions what is lost in an attempt to retrace what has been done before.

Argote’s project communicates, with poetic simplicity, the complexity of how routine pedagogical exercises can reveal the inner process of second language learners, and larger complexities that exist in a mono-language based society. These works are an attempt to connect with Argote’s grandmother’s experience, and act as a subconscious merger of their disparate experiences as foreign language learners (Argote having learned English as a small child and her grandmother as a mature adult).

Argote hopes to reveal in this exhibition what is often left unseen—the inner process of what happens to individuals behind the closed doors of ESL classrooms and community centers in our own backyards. For Argote, it is in the handwritten, often misspelled or incorrect written responses that lay within the structure of the ESL workbook that she finds inspiration. As she says, “I want to place the value where it belongs, in the process, the days of learning and of being present, and not the result. This is what stays with you once the English is forgotten; the value comes from the making of the poems.”

Carmen Argote: Workbook/Notebook is made possible with support from The Andy Warhol Foundation for the Visual Arts.

Harry Dodge Harry Dodge: The Inner Reality of Ultra-Intelligent Life

Oct 2, 2016 - Jan 8, 2017

The Armory is proud to present the first solo exhibition in Los Angeles of the acclaimed, interdisciplinary artist Harry Dodge.

Pasadena, CA—The Armory Center for the Arts is proud to present Harry Dodge: The Inner Reality of Ultra-Intelligent Life, the first solo exhibition in Los Angeles of the acclaimed, interdisciplinary artist. For the past two decades, Dodge has been a pioneer in a variety of spheres, including video art, sculpture, drawing, performance, screenwriting, feature film
production, and DIY queer community-making. The Inner Reality of Ultra-Intelligent Life features
the premiere of two new video works made especially for the exhibition, Mysterious Fires and Big Bang (Song of the Cosmic Hobo), paired with an array of earlier work, including sculptures and drawings, which showcase the evolution of Dodge’s interests and trajectories over the past decade.

The exhibition is on view in the Mezzanine Galleries from October 2, 2016 through January 8, 2017. A reception, free and open to the public, will take place on Saturday, October 1, 2016 from 6-8pm. The exhibition is organized by Suzy Halajian, the Armory’s Associate Curator.

In his new video work, Mysterious Fires, Dodge plays a human-level machine intelligence being interviewed by a concerned interlocutor (played by Cay Castagnetto); the video reflects the artist’s interest in the fast-moving, ethically-charged field of robotics and machine intelligence. The conceptual, pedagogical discussion in which the two characters engage is faceted throughout by their amusing interpersonal dynamic and idiosyncratic means of verbal delivery, which extends to include other members of the filming crew, breaking the proverbial “fourth wall.” In short, while performing a script primarily concerned with the terrifying gloom of absolute instrumentality (the future of machine intelligence), the characters and crew frequently interrupt themselves with wit, affection, delight, error, flattery, and absurdity.

Through disruption and play, Mysterious Fires asks its audience to consider where fallibility, care, love, and laughter (affect) belong in a situation of absolute, super-charged intelligence—especially if intelligence is defined as the virtuosic mastery of goal-achievement. The work’s methodology also relates to contemporary conversations about the relationship between sociality and making, as crystallized in poet and critical theorist Fred Moten’s remarks: “Form is not the eradication of the informal. Form is what emerges from the informal. So, the classic example. . . . is “What’s Going On?” by Marvin Gaye – and of course the title is already letting you know: goddamn it, something’s going on! This song emerges out of the fact that something already was going on. . . . What emerges is a form, out of something that we call informality.”

The artist appears once again in Big Bang (Song of the Cosmic Hobo), here as a low-rent automaton in an urgent quest to launch a small group of cosmic particles back into a state of pure potentiality. In this film—created via a series of in-camera edits—a cyborg (a shirtless Dodge with a Chroma key green cardboard-box robot head) purchases a particle board cabinet at IKEA and, after gloriously smashing it to bits with a sledgehammer, scatters the dust at a Grand Canyon scenic overlook. In swift order, the work invokes questions about consumerism, materiality, and the possible fecundity of dissolution or destruction.

The sculptures and drawings that accompany these video works, which stem from different points in the artist’s career, have been curated for their poetic discussion of the possibilities for moving beyond a desire for purity—primitivism, neo-Luddism—and into a state of ecstatic contamination, be it machinic, affective, or intersubjective.

Harry Dodge: The Inner Reality of Ultra-Intelligent Life is made possible with support from The Andy Warhol Foundation for the Visual Arts.

Through a series of thematically linked exhibitions, Pacific Standard Time: LA/LA will present a wide variety of important works of art, much of them new to Southern California audiences. While the majority of exhibitions will have an emphasis on modern and contemporary art, there also will be crucial exhibitions about the ancient world and the pre-modern era. With topics such as luxury objects in the pre-Columbian Americas, 20th-century Afro-Brazilian art, alternative spaces in Mexico City, and boundary-crossing practices of Latino artists, exhibitions will range from monographic studies of individual artists to broad surveys that cut across numerous countries.

While the exhibitions will focus on the visual arts, Pacific Standard Time: LA/LA programs will ultimately expand to touch on music, performance, literature, and even cuisine. Pacific Standard Time: LA/LA will be a multifaceted event that will transform Los Angeles and Southern California for five months, and our understanding of modern and contemporary art forever.

Embracing organizations of all sizes and types — from the largest museums to smaller museums, from university galleries to performing arts centers — Pacific Standard Time: LA/LA exhibitions and programs will take place across Southern California, from Santa Barbara to San Diego, from Santa Monica to Palm Springs.

With its historical roots in Latin America and its current demographics, Los Angeles might be described as tomorrow's capital city. In a way that is possible only in Los Angeles, Pacific Standard Time: LA/LA will implicitly raise complex and provocative issues about present-day relations throughout the Americas and the rapidly changing social and cultural fabric of Southern California.

Each iteration of Pacific Standard focuses on a critical aspect of Southern California's pivotal role in the history of art and architecture.